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Extra Credit: Cherry Blossom Festival at BBG

Extra credit

During Spring Break, I attended Sakura Matsuri, better known as the Cherry Blossom Festival, at the Brooklyn Botanic Garden. Upon seeing the flowering trees, I was reminded of the Kokinshū’s focus on the ephemerality of the beautiful blossoms. “Are they not like/the fleeting world?/Cherry blossoms:/no sooner do they flower/than they fall” (73, p. 1113). The anonymous writer’s observation accurately describes the brief existence of the cherry blossoms, which the garden exhibition reinforced thematically. While most plants were just beginning to bloom or were in full-bloom, the cherry blossoms within the garden were already wilting, shedding their petals on the bare ground beneath them. This scenery, which may compare to a snapshot or a painting found in a museum, portrayed a powerful image of the ephemerality of cherry blossoms and, on a more dramatic note, of life. It was compelling to realize that just a couple of weeks ago, the trees were in full-bloom, and now their beautiful existence was fading. This is essentially the image the Kokinshū portrays in its brief mention of the life and death of cherry blossoms.

The first photograph was taken on April 30th, when the blossoms were still somewhat blooming, but no longer in full-bloom. From the diagram below (retrieved May 14th, 2016), it’s obvious that the blossoms are in “post-peak bloom.” After just a two-week period from when I visited, the blossoms have completed their lifecycle for the year.

Visiting the garden also reminded me of The Pillow Book, which captures the captivating beauty of cherry blossoms. Shōnagon remarks, “the cherry blossom blooms every year, but does anyone find it less lovely for that?”. The annual blossoming of the trees intrigues everyone, even though it’s a natural and recurring occurrence. The festival reminded me of this thought because the cherry blossoms bloom every year, yet thousands of people gather to witness their beauty. Similarly, Shōnagon often referred to cherry blossom designs on bystanders’ clothing (2, p. 1133). The abundant scenery of the garden and the exuberant costumes of fanatics reminded me of these descriptions, as I was able to visualize exactly what Shōnagon was depicting in her writing.

Works Cited

Ki no Tsurayuki. The Kokinshū. Trans. Laurel Rasplica Rodd. The Norton Anthology of  World Literature. Gen. ed. Martin Puchner. 3rd ed. Vol. B. New York: Norton, 2012. 1106-1113. Print.

“Cherry Blossoms at BBG.” BBG.org. Brooklyn Botanic Garden, n.d. Web. 14 May 2016. <http://www.bbg.org/collections/cherries>.

Shōnagon, Sei. The Pillow Book. Trans. Meredith McKinney. The Norton Anthology of  World Literature. Gen. ed. Martin Puchner. 3rd ed. Vol. B. New York: Norton, 2012. 1131-1153. Print.

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Identity Through Costume

Student blog post

Medieval romantic literature placed great emphasis on the significance of costume. Sir Gawain and the Green Knight quintessentially represents this ideal as well as underscores differences between characters through the detailed descriptions of their appearances.

In the beginning of the poem a description is given of the Green Knight as soon as he appears. He is described as wearing all green “with smoothly shorn fur clearly showing, and faced/with all-white ermine” (Fitt 1, lines 154-155). His attire is a direct representation of his wealth, as fur was, and still is, a luxury. Such a description makes readers wonder about the status of the Green Knight, and in turn his identity, as well as pose questions, such as: Is the Green Knight a wealthy gentleman? How did he become wealthy? The answers to such questions are more obvious in regard to Sir Gawain, who is depicted as clothed “in the costliest costume:/his coat with the brightly emblazoned badge/mounted on velvet; magical minerals/inside and set about it; embroidered seams;/a lining finished with fabulous furs” (4.2025-2029). From the poem, readers know that Sir Gawain comes from Arthur’s court—the reason for his wealth. Similarly, they can infer about his identity as a valiant knight. He is dressed in the most expensive clothing because he is a representation of the court; nonetheless, his attire is a direct representation of his identity. As seen in the imagine (below) from an online blog, Sir Gawain’s costume is not overly embellished with unnecessary jewels or pieces, it’s simple and humble like the knight himself. Similarly, the Green Knight is described as wearing “no helmet and no hauberk either,/no armored apparel or plate was apparent,/and he swung no sword nor sported any shield,/but held in one hand a sprig of holly…and in the other hand held the mother of all axes” (1.203-208). Interestingly, he isn’t covered in armor, but sports a more down-to-earth look, which underscores his correlation with nature as opposed to humanity, as he is hidden away in the woods. His weapon, an axe, also relates him to a forester, which further highlights his relationship with nature. Likewise, the photograph makes him appear as though his body is a part of the leaves and trees growing in the background, rather than makes him stand out like Sir Gawain himself.

It’s apparent that descriptions of costumes and appearances play a major role in characterizing both Sir Gawain and the Green Knight. Questions for the class: Do you believe costume and/or appearance descriptions evident throughout the poem were deliberately incorporated to attribute certain characteristics to the characters? What else can costumes and/or appearances be used to depict or convey within literature? Can these costumes and/or appearances simply be based on fashion seen during the era from which the work was created and nothing else?

sir-gawain

Works Cited

Sir Gawain and the Green Knight. Trans. Simon Armitage. The Norton Anthology of                             World Literature. Gen. ed. Martin Puchner. 3rd ed. Vol. B. New York: Norton, 2012. 725-780. Print.

Liz. “Story Seer.” Web log post. Story Seer. N.p., 20 Apr. 2013. Web. 25 Apr. 2016. <http://storyseer.blogspot.com/>.

 

 

David Bowie’s “Lazarus” and Gilgamesh

Student blog post

Hello Professor and Class,

In regard to David Bowie’s “Lazarus,” I saw one major difference between the lyrics and the text of The Epic of Gilgamesh. While David Bowie sang, “Just like that bluebird/Oh, I’ll be free,” which I interpreted as freedom from the burdens of life, Gilgamesh sought immorality throughout the epic. The lyric above conveys relief and resembles something natural and beautiful by referring the bluebird, a symbol of happiness. This reference further underscores the artist’s acceptance of death, when he’ll finally “be free,” but is contrary to Gilgamesh’s wishes.

A similarity I spotted concerns the name of the song, which is a biblical reference to a man who was raised from the dead by Jesus. The title of the song relates to The Epic of Gilgamesh because Gilgamesh wishes to be immortal, similarly to Lazarus, who, although not immortal, overcame death.

Further, The Epic of Gilgamesh literally relates to the song when David Bowie sings, “I was living like a king,” which describes Gilgamesh, who is a king.

Did anyone find any other differences/similarities between the song and the text? Did anyone interpret David Bowie’s song differently? (That he doesn’t want to die, particularly due to the name of the song, which implies resurrection from death?)

Looking forward to reading other interpretations,

Veronika S.